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Assuming you only have ProRes footage and not RAW (so can't adjust exposure from the RAW tab), one approach is to use 2 instances of the CST (Color Space Transform) plugin.
In the first node set it up to go from your source (eg. BMDFilm for color space and gamma) into Linear XYZ. Add a second node with CST and set it to go from Linear XYZ back to BMDFilm. If you use the bypass grade option you should see no difference at this point. Now in the first node, adjust GAIN from primaries to adjust exposure (the primaries will happen after the CST plugin based on Resolves processing flow). Set the gain to 0.5 for a 1 stop exposure reduction. Set it to 0.25 for two stops reduction. Set it to 2.0 for a 1 stop increase, or 4.0 for a 2 stop increase, etc etc. For workflow reasons you might want 3 nodes and to do only gain in the 2nd node so that you can easily bypass the node for a quick on/off to confirm you like the exposure change. You may also want several "gain nodes" for extra range or precision. Eg. do 0.5 in one node for 1 stop reduction, and duplicate that node for further stops of reduction which can be easier than trying to set 0.125 as 3 stops down for example.

Although I agree with "adjust to taste/eye", the advantage to adjusting exposure this way is that it is how it works for RAW as in it's a scaler in linear light which keeps the relative scene illumination the same as you adjust and can look more natural. I also tend to think in "stops".

Thank you for this ! Is there any way while you're in linear to adjust the WB to get similar results as in the raw tab ? I tried a few things but color wise, while in linear, Resolve's tools don't react the same way as usual (due to the color space conversion I suppose). Any chance there's a work around for this ?

Thank you for this ! Is there any way while you're in linear to adjust the WB to get similar results as in the raw tab ? I tried a few things but color wise, while in linear, Resolve's tools don't react the same way as usual (due to the color space conversion I suppose). Any chance there's a work around for this ?

Thank you all for your inputs !

set a node to L*a*b
bypass chanel 1 (Luma)
use Ch2 (*a) to adjust tint using green offset or curves
use Ch3 (*b) to adjust temp using blue offset or curves

this work well with raw / linear images in ACES, so i see no reason why it would not work on display refered images that are converted to linear using the colorspace transform.

but that said, i use ACEScct 99.7% of the time, prefering not to force linear data from the sensor to display refered by burning in a compression of the dynamic range, then pulling the compressed dynamic range display refered images back into linear light

just so much simpler and cleaner to stay in linear light from the get go, Ocham's razor and all that....

i see no reason why it would not work on display refered images that are converted to linear using the colorspace transform.

Ideally you want to do RGB gains AND interpolate the 'A' and 'D65' 3x3 colour matrices for the desired colour temp (as it is done in the RAW workflow), but like I said just doing the RGB gains can be 'okay'. Also I've mentioned several times but the CST plugin assumes the footage was shot as 6000K and the native ISO for the camera. So even just for the exposure adjustments if you're taking ProRes footage for say 4.6K and it's not shot at ISO800 then the transform to linear won't be correct. Just things to be aware of.

Also I've mentioned several times but the CST plugin assumes the footage was shot as 6000K and the native ISO for the camera.

yea, a really good reason to use ACES if it's raw from the camera... no transforms from raw, sensor data goes straight into gradeing workspace, simple clean signal path, kinda goes out the window a bit when display refered footage is presented..